WHAT GHOST ARE YOU GHOULIN FOR AROUND HERE? 1 THE HAUNTED PRESENCES OF THEATRE AND TRANSLATION
|
|
- Tracy Murphy
- 5 years ago
- Views:
Transcription
1 WHAT GHOST ARE YOU GHOULIN FOR AROUND HERE? 1 THE HAUNTED PRESENCES OF THEATRE AND TRANSLATION Alinne Balduino Pires Fernandes * Universidade Federal de Santa Catarina Abstract: In this article, I examine the various subjective influences that are at stake when translating for the stage taking into consideration my own translation of Marina Carr s By the Bog of Cats (1998) into Brazilian Portuguese. What motivates this discussion is a focus on the ir-, anti-, post-rational nature of translation theory and practice, as put forth in Robinson s Who Translates? (2001), but with specific attention paid to theatre, acting and re-enacting. Rather than providing answers, this article intends to raise questions with regard to the voices or forces that are at stake when translating for the stage. Key-words: Theatre translation. Subjectivity. Theory and practice. QUE FANTASMA VOCÊ PROCURA PARA DEVORAR? AS PRESENÇAS ASSOMBRADAS DO TEATRO E DA TRADUÇÃO Resumo: Neste artigo, examino as diversas influências subjetivas envol - vidas no processo de tradução para o palco, levando em consideração a 1 Carr (266). * Alinne Balduino Pires Fernandes Doutora em Tradução e Teatro (2012) pela Queen s University Belfast, Irlanda do Norte. Mestre em Letras (2009) pela Universidade Federal de Santa Catarina. Professora do Departametno de Língua e Literatura Estrangeira da Universidade Federal de Santa Catarina, Florianópolis, Santa Catarina, Brasil. Alinne Fernandes <alinnef@gmail.com Esta obra utiliza uma licença Creative Commons CC BY:
2 Alinne Balduino Pires Fernandes minha própria tradução para o português do Brasil da peça By the Bog of Cats... de Marina Carr (1998) (tradução ainda não publicada). O que impulsiona esta discussão são as abordagens ir-, anti- e pós-racionais de teoria e prática da tradução, conforme sugeridas por Robinson em Who Translates? (2001). No caso desta discussão em particular, meu foco será o teatro, a encenação e a encenação da tradução. Ao invés de fornecer respostas, este artigo busca levantar questionamentos sobre as vozes ou forças envolvidas ao traduzir-se para o palco. Palavras-chave: Tradução teatral. Subjetividade. Teoria e prática. Haunted presences By the Bog of Cats..., a play written by contemporary Irish playwright Marina Carr, had its world première at Ireland s national theatre, the Abbey, in It opens with a cryptic and pungent dialogue between Hester Swane, the tragic (anti-)heroine, and Ghost Fancier, her grim reaper: HESTER Who are you? Haven t seen you around here before. / GHOST FANCIER I m a ghost fancier. / HESTER A ghost fancier. Never heard tell of the like. / GHOST FANCIER You never seen ghosts? / HESTER Not exactly, felt what I thought were things from some other world betimes, but nothin I could grab on to and say, That is a ghost. / GHOST FANCIER Well, where there s ghosts there s ghost fanciers. / HESTER That so? So what do you do, Mr. Ghost Fancier? Eye up ghosts? Have love affairs with them? (Carr, 265) Having finally found Hester, mysterious Ghost Fancier introduces himself and later reveals that he has known her and has been ghosting her much longer than she could ever have realised. By the Bog of Cats... (henceforth B. B. of Cats ) is a play about haunting. Hester is haunted by death, or fancied by a ghost, in an almost erotic hide-and-seek dance of a ghost 106
3 What ghost are you ghoulin for around here?... infatuated by a living woman. Hester is also haunted by her own memories of a long-gone mother, by the brother she has murdered out of jealousy and resentment, and finally by living characters, who want her to leave the Bog of Cats, the only place where she feels home. Dead characters are made present in the play by way of being remembered in stories and songs. Because they are constantly brought back to life and re-enacted in the living characters minds, those dead characters are haunted presences in the play. They remind us, rather meta-theatrically, that that is what theatre is made of: memories, reconstructions of past experiences, combined together and re-enacted in a newly created fashion. B. B. of Cats is populated by a host of wandering ghost characters who remind both fellow characters and spectators of something they have seen before, henceforth embodying a characteristic so innate to theatrical performances: their eternal return and recycle, narratives of long-gone presences, and remembrances of absences. The haunted presences in B. B. of Cats could thereby be interpreted as a metaphor for the very nature of theatre and, similarly, translation. As Marvin Carlson observed in his acclaimed book The Haunted Stage, there is a tantalising relationship among 2 the theatre, haunting, memory and ghosts. From the theatrical stage to the play-text and body of the actor, each new performance is haunted by performances, character types and actors seen before, play-texts read before, and theatre houses where one has been to before. For Carlson, each new theatrical performance is unbearably familiar; it results from the theatre s constant re-doing of something that has been done before, but under a new light each time. This seeing again is created by both the theatre, a haunted house of shared cultural practices, and personal experiences, which, 2 The retelling of stories already told, the reenactment of events already enacted, the reexperience of emotions already experienced, these are and have always been central concerns of the theatre in all times and places, but closely allied to these concerns are the particular production dynamics of theatre: the stories it chooses to tell, the bodies and other physical materials it utilizes to tell them, and places in which they are told. (Carlson 3) 107
4 Alinne Balduino Pires Fernandes in turn, travel on a two-way road: they are used both as creative devices on the part of theatre production teams and playwrights, and as a reception device on the part of audiences. Bearing this idea in mind, this paper explores the notion that theatre translation may utilise theatrical techniques of the receiving culture in order to establish further connections between the foreign and the domestic focusing on the translator s experience with the text. Herbert Blau, in quoting Marcellus in Hamlet, What, has this thing appeared again tonight? (Shakespeare [1601] 1980: 64, emphasis mine), ponders that if the thing does not appear, no performance will take place. For Blau, [t]he thing seems to suggest the almost unnameable form of some ancestral figure, not only the Hamletic ghost, but the Japanese shite, the Balinese patih, the shave of the Shona in East-Central Africa, or the God of Abraham in the Oberammagau Passion Play. (172) Performance lies essentially in the expectation of seeing something that has not revealed itself yet. In this line of reasoning, there is, thus, something universally ghostly in performance: something that recurs ritualistically, the interplay of life and death as well as of magical appearances and disappearances as there is in translation alike. As in the theatre, as in its disappearances and the memories of what spectators have seen before, translation is also an arena for haunted presences. Spanish contemporary writer and translator Javier Marías (2009) once said that a translator translates what s/he remembers of the original text. For him, the task of the translator is an exercise of remembering, a constant dealing with an absence, with the inexistence of the originary text in the receiving context. For that reason, neither can a translation be a copy nor the same as the originary text because the original does not exist in the culture and language the translator translates into. Therefore, it could be 108
5 What ghost are you ghoulin for around here?... said that a translation is a text haunted by the translator s memories of the text s/he translates. This put, a comparison between the act of translation to Hester s attempt to remember what Josie Swane, her disappeared mother, was like seems pertinent: the way she used to sing, pose, and speak. Hester s refracted and fragmented memories will never bring the physical, flesh and blood Josie back to her. Rather, her memories will produce a unique version of her, and a representation of what her mother was like. Those memories produce a fragmentary and yet unique representation of the disappeared mother because they are Hester s alone. Similarly, one translates not because of the presence of the originary text, as Marías suggests, but because of its very absence. 3 That is to say that the originary text does not and will never exist in the receiving language; its existence is limited to an idea, a past and haunting experience. I want to suggest here that the translator, more specifically, the theatre translator is haunted by both the originary text and context as well as by the receiving context. As depicted in the widely used metaphor of Janus, the Roman god of beginnings and transitions, the translator is duplicitous, s/he is enamoured of the originary text, which s/he ghouls for, but is also committed to the culture s/he translates into. Based on these considerations, how does the translator negotiate the many ghosts that haunt the translation process? Similarly to the audience members response to a performance, which relies greatly on their previous experiences with and in the theatre, the translator also translates based on his/ her own notions of theatricality. The play-script, therefore, establishes connections between the domestic and the foreign, and between what is known and what is unknown to the audience members of the receiving culture. This could also be described as ghosting, a concept Carlson uses to 3 Yo creo, por el contrario, que lo que prima en la actividad de traducer no es la presencia del texto original, sino justamente su ausencia o carencia. (Marías 344) 109
6 Alinne Balduino Pires Fernandes define the way we utilise our memory of previous encounters to understand and interpret encounters with new and somewhat different by apparently similar phenomena (6). Is the translator ghouled for or is s/he the one who ghouls for? The term ghoul, borrowed from a line in B. B. of Cats, is a noun used as a verb in the play. The term dates back to the late eighteenth century, from the Arabic [gul], which originally meant in Arabian mythology a desert demon believed to rob graves and devour corpses (OED). In the play, Ghost Fancier is ghoulin for the soul of Hester Swane. His being early for her death announces the approach of her tragic fate in a morbidly clumsy and humorous way. Ghost Fancier apologises and leaves, only to enter stage in the final scene, but the idea of his coming remains present throughout. Bearing in mind the metaphorical relationship suggested earlier on, could translation, or more specifically, theatre translation be compared to ghouling? The translator primarily feeds on the text s/he translates from as well as on memories of his/her previous experiences. Who ghouls for the translator? And who or what does the translator ghoul for? Douglas Robinson, in Who Translates?, inquires about the forces at play in the translation process: What forces or voices or intentionalities or subjectivities what spirits or ghosts or demons does the translator channel? Who (all) is the translator when s/he translates? How does the translator negotiate the different types and conceptions of channelling in translating, and in presenting him/herself as a translator? Just what sorts of channel is the translator allowed to be, encouraged to be, expected to be, required to be? Are any specific forms of channelling expressly off-limits to translators? (7) 110
7 What ghost are you ghoulin for around here?... To put the citation above into context, in proposing a postrational model for translation based on cognitive science and neuro-philosophy, Robinson suggests that the human brain does not possess a single decision-making centre, and thus operates in a rather fragmented fashion. In this light, the translator s pandemonium self is, for Robinson, populated by a multitude of word-demons, thought-demons, and memory-demons, who all speak concomitantly while the translator performs the translating task. By referring to demons, he refers to agents, forces, in the Greek sense of daimon. (150) 4 Robinson s post-rational drive offers, if not a revolutionary approach to translation, a return to classic ideas about a spiritual and transcendental experience enabled through translation, as in St. Jerome s translation of the Bible, which St. Jerome claimed to have let the Bible s source authors speak through him as he translated (op. cit., 6-7). When translating a play, the translator invariably establishes an affectionate link with that text; s/he relates to it, and here there is something hard to pin down, which could be explained with so many names, from Robinson s demons to invisible forces and spirit-channelling. And why not take those haunted presences into account in the study, theorisation, and praxis of theatre translation? The attempt here is to bring to light the notion that theatre translation, this doubly haunted space, promotes an interplay of objectivity and subjectivity. A personal account When working on a rehearsed reading of my own translation of B. B. of Cats in Florianópolis (Brazil) during the Brazilian winter of 4 Robinson borrows the term pandemonium from Daniel Dennett s Consciousness Explained (1991) to explain the true nature of consciousness, paraphrased by Robinson as not so much total chaos, as the term seems to suggest in colloquial English, but simply the place of all demons, a place populated and run by hundreds of demons, thousands, perhaps millions. (Robinson 150) 111
8 Alinne Balduino Pires Fernandes 2010, 5 I realised how much I had appropriated that text for myself even although, at first, my and this should be read between scare quotes commitment to the originary text was that of introducing Carr s visceral dramatic writing style to Brazilian audiences. For that to happen, I had read all possible interviews that had been done with Carr to the point that, in the seclusion of my writing-translation (or spirit-channelling), I dreamt about her characters, conversed with her and confronted her views both in English and Portuguese. One of the most remarkable characters in the play is Mrs. Kilbride, a jealous, individualistic and domineering mother, grandmother, and mother-in-law. When reflecting upon her absence in Brazilian Portuguese, her voice would buzz into my ears in the voice of (or, at least, my memory of) my paternal grandmother. My preoccupation and zeal for understanding and ghouling for what Mrs. Kilbride represented in her originary culture led me to, more than anything, relate to the characters based on my own life experience. The play-text haunted me, thus, in a way that the voices I heard were not only those of the originary text, but also those relating to how they could be re-enacted in terms of my own memories as a translator. The more I read the play, the more the characters voices echoed inside my head as voices I once heard as a child; times when reality and imagination are not so easily distinguished (or so it seems). It was when hearing those voices that I could see Mrs. Kilbride s obsessive, possessive, and controlfreak character in my mind s eye: she was to be my paternal grandmother s incarnation in my translation of the play. Bearing the host of forces that haunt translation, being one of them the originary context in which the text has been produced, how does the interplay of contexts, originary and receiving ones, affect translation, or haunt the translation process? 5 The rehearsed reading referred to here was performed by the acting students of Oficina Permanente de Teatro, Teatro da UFSC, Universidade Federal de Santa Catarina, Florianópolis, Brazil. 29 Jun For more information on the aforementioned rehearsed reading, see Fernandes (2012) and (2014). 112
9 What ghost are you ghoulin for around here?... Ghoulin for understanding In order to better understand how a text sits in the context in which it was originally produced, the translator may examine how the play-text s/he translates exists in relation to the ones that were written before it, how it converses with, and/or breaks away from whatever is considered to be canonical or traditional writing for performance in the originary culture. Part and parcel of playwriting is, similarly to Jack Spicer s view on poetry writing, a palimpsest of previous writings. As in poetry, playwriting is an innately haunted activity. In Spicer s words, [p]oems should echo and reecho against each other. They should create resonances. They cannot live alone any more than we can. Things fit together. [ ] We knew that it is the principle of magic. Two inconsequential things can combine together to become a consequence. This is true of poems too. A poem is never to be judged by itself alone. A poem is never by itself alone. (61 as cited in Katz 2012: 84) That principle, thus, directly affects translation: in uprooting a text, translation roots its new creation in the receiving context. Carr, who began her career as a playwright in late twentiethcentury Ireland, during the Celtic Tiger era, echoes, in her writing, the Yeatsian project for a reflection of the people through the lens of folktale and myth, and yet challenges this reflection by means of presenting the same in different clothes. In an interview with theatre critic Lyn Gardner for The Guardian in 2004, Carr said that a writer is a magpie, you take what you need. The whole history of writing is borrowing from the previous generation. As a playwright, she ghouls for other writings to find resources of her own, in which she establishes a relationship with an on-going Irish theatre tradition. In that same interview, she further elaborates on the process of finding her own voice: When you realise that, two things occur: you 113
10 Alinne Balduino Pires Fernandes become humbled instantly, and you become afraid to write. Because of all the things that have been said, so now how are you going to continue? In being haunted by what has been done before, previous writings are invariably imprinted in her own writing. Very much aware of themes that have shaped the various Irish communities sense(s) of belonging and not-belonging, Carr uses those devices and, perhaps in the process of finding her voice as an author, plays with those traditional elements. B. B. of Cats, more specifically, uses theatrical and literary narrative elements for drawing upon both the Irish canon and Greek mythology. Her explicit and very conscious use of traditionally classic structures represents both a move towards pertaining to and rooting itself in Irish theatre tradition as well as breaking away from them. Her work is a haunting commentary upon the Irish past, or the memories of an Irish past, both real and invented. To a large extent, B. B. of Cats relies on narrative structures widely used in Irish drama. To illustrate this, both Carr s B. B. of Cats and Synge s Playboy of the Western World, the latter written in the early nineteen-hundreds, have in their protagonists an urge for understanding their pasts, by way of a constant search for stories to understand and fabricate their past and themselves. Both plays deal with outsiders versus dominant society, moving them from their peripheral position in society to a central position on stage. In doing so, that dramatic device strategically provokes a twist in audience members perception as, although settled, audience members actually relate with Hester and become more like her, seeing the world more like her, as an outcast, as the target of social prejudice. This displacement of a peripheral character to a central position, however, has been done before; successful plays result from ghosting. In Irish play-writing, that device had also been used, after Synge and before Carr, by Friel (1996 [1965]), in Philadelphia, Here I Come!, where protagonist Gar attempts to establish a relationship with his physically present although spiritually absent father by means of reminiscing about things they did together their memories of the same event are so different 114
11 What ghost are you ghoulin for around here?... and revealing: reality is nothing but the ways in which we have constructed our pasts. The metatheatricality in those plays lies in the fact that they are commentaries on their very nature and on the nature of theatre itself: they are plays about memories, about attempts to reconstruct their characters past, and, at the same time, they are memories of other plays, that is the acknowledgement of absences, haunted presences of what has been done before. The central though absent character in B. B. of Cats is Hester s mother, big Josie Swane, introduced in the dramatis personae list, as a voice that we, readers and spectators, never hear. Referred to by other characters in the play as a mysterious woman, always pausin and waitin (Carr 2005 [1998]: 275), almost a Beckettian character who waits, forever waiting, until she leaves forever. Big Josie represents, therefore, the very fabric of performance, like Hamlet s ghost, she haunts performance. She is the reason why we, as spectators, sit before the theatre stage, she is the thing that we so eagerly expect to see that Hester (we) expects to see and longs for. How does that haunt the translation process? How can the translator re-enact those voices in his/her writing? The play not only does twist Irish drama thematically but also in terms of its form and structure. There is an emphasis on a sense of placeness, of how the characters, in particular Hester, relate to the Bog. This is brought about by the repetition of the place name Bog of Cats, a narrative device that highlights, once again, identity and memory belonging to that place. This narrative device becomes particularly intriguing if we take into consideration what a bog is: a place that fluctuates between the real and imaginary; a region of spongy and acidic land, where nothing grows but only accumulates dead materials. With the translator s two feet on the bog ghouling for understanding, one realises that the paradox is in that very fact: one cannot live on what a bog produces as food (because it produces nothing), but what is accumulated in it serves as fertiliser and fuel. To complicate things further, the land of bogs moves and changes the landscape which creates a sense of instability, and yet, Hester 115
12 Alinne Balduino Pires Fernandes Swane is so attached to a place (or a no-place) that is, in the words of the character Monica Murray, always shiftin and changin and coddin the eye (Carr, 267). The bog, thus, could also serve as metaphor of the interplay of the ghost and the host, the familiar and the foreign in theatre translation. Ghoulin for as theatre translation practice My dramaturgical translation of B. B. of Cats utilised ideas that were already available in the Brazilian context things that had been seen before by Brazilian play-goers and done before by Brazilian directors (or directors based in Brazil) and playwrights. The ghosts and prophet-ghosts of the Bog can be either interpreted as hallucinations of the protagonist s mind or be seen as otherworldly creatures that co-exist in a parallel dimension. But there should be a distinction in the theatrical representation of the mythical and ghostly creatures and the characters of the present or of this dimension. This distinction can be obtained semiotically by lighting and perhaps other stage signs that punctuate the scenes. 6 When translating B. B. of Cats for the Brazilian stage, another voice that lingers in the translator s mind is that the play is a deliberate transgression of standard language. The slight flavour (Carr, 261) of the Irish Midlands accent imprinted in the text becomes a way to give voice to Irish-English on stage. At the crossroads between that haunting memory of B. B. of Cats, its originary context and some understanding of theatre practice in Brazil, one needs to make a creative decision that will most certainly be affected by the translated play s host context. In Brazil, on-stage portrayal of dialect can be seen in Nelson Rodrigues s carioca plays written in the nineteen-forties, in which the playwright, taking advantage of his journalistic experience, depicted the urban language of Rio de 6 For a more detailed discussion about the set design of the rehearsed reading that took place in Florianópolis in 2011, see Fernandes (2014) 116
13 What ghost are you ghoulin for around here?... Janeiro. Before Rodrigues, however, Oswald de Andrade, one of the precursors of Brazilian Modernism, attempted to write plays in a paulista accent, although, due to the censorship of the nineteenthirties, Andrade never had the chance to have his works staged during his lifetime. In addition to Rodrigues, and enjoying even more popularity and prestige during his lifetime, contemporary playwright Ariano Suassuna has consolidated the use of a form of North-eastern Brazilian dialect on the Brazilian stage writing in a playful style that takes his audience back to the medieval autos in a contemporary light combining Catholic imagery, Brazilian folklore, circus and comedy. Even though dialect has been used on the Brazilian stage, dialect is very much neglected on the Brazilian stage (and by society in general), which reveals the prejudice towards class and region and an ethereal conservatism of standard Brazilian Portuguese. The use of dialect, however, is often loaded and has in itself an implicit meaning and most certainly has an effect different from that of a work of art written or performed in standard language. As previously mentioned, Oswald de Andrade, for instance, attempted to write plays, such as O Rei da Vela (1933/1967), so as to depict spoken urban language. Any form of writing, until then, even for the theatre, was confined to standard Portuguese, with a few exceptions in the nineteen-century, such as Martins Pena s plays 7. Nonetheless, since Andrade s plays were not staged until the nineteen-sixties, 8 Nelson Rodrigues was the one who, during 7 See, for example, As Casadas Solteiras [1847]. For more plays, see: < action=&co_autor=81> [consulted on 31 March 2016]. 8 Brazilian theatre critic and historian said that Oswald de Andrade é o autor dos primeiros textos brasileiros modernos, mas não foi ele quem provocou a moder - nização do nosso teatro. [...] E é incrível que O Rei da Vela, montado trinta anos depois da edição, demonstrasse possuir a mesma força explosiva de quando foi concebido. (296) Although originally written as part of the Modernist movement in Brazil, O Rei da Vela actually took part in the Tropicalist movement when it premiered in São Paulo in 1967 ( O Rei da Vela. Itaú Cultural Enciclopédias: Teatro. Web. 10 Jan. 2011). 117
14 Alinne Balduino Pires Fernandes his lifetime, inaugurated a stylised use of oral language on stage. What does it mean, however, to deliberately make a move from the on-stage use of standard language and opt for dialectical variants? In the nineteenth century, the use of a more Brazilian way of speaking and writing Portuguese, as argued for by Machado de Assis and reflected in Martins Pena s plays, represented Brazil s cultural independence from Portugal, whereas, in the twentiethcentury the theatrical portrayal of more colloquial and regional linguistic variants of Brazilian Portuguese represented not only a step further into Brazilian cultural independence depicting the complexity of its linguistic variants but also representing the country s social inequality. Having said this, the translator sees herself at a crossroads between the play s originary context (the ghost), in which the depiction of dialect is widely employed and celebrated, and the play s receiving context (the host), in which the use of dialect in stage language has proved polemical and contradictory. But couldn t a translation of Irish-English into a regional variant of Brazilian Portuguese (taking into consideration, of course, the contingencies of performance, such as linguistic variant spoken by a putative audience) haunt its audience and invite them for thinking over their established ideas of themselves and the ways they approach social inequality? In that way, in materialising the presence ( a possible presence, really) of the absent original text, couldn t the translation become the ghost that once haunted the Brazilian stage in the early twentieth-century? Final Remarks Translation has the potential for disrupting with the traditions of its receiving context because it is inherently a new text, a re-reading of ideas both those available in the original text s context, the ghost, and those available in the hosting one. In this specific case, it could also be seen as a dialogue with, a ghouling for the theatre 118
15 What ghost are you ghoulin for around here?... tradition inaugurated in Brazil in the nineteen-forties which was a major break-through at that time? If seen from this perspective, at the same that this translation brings the novelty of the foreign, it blends in with the domestic in an inter-textual dialogue that was practically inexistent before. All in all, in spite of the voices, or thankfully to all voices that haunt the translation process and for which the translator ghouls, theatre translation, at its best, is that thing that we all expect to see when sitting before the theatre stage. The thing is nothing but an apparition, an illusion of the present, after all. Similarly to Hester Swane, in the tragic act that leads to her unavoidable suicide, theatre and translation draw us back because of the spell they have cast upon us: Ya won t forget me now, Carthage, and when all of this is over or half remembered and you think you ve almost forgotten me again, take a walk along the Bog of Cats and wait for a purlin wind through your hair or a soft breath be your ear or a rustle behind ya. That ll be me and Josie ghostin ya. ( She walks towards the Ghost Fancier. ) Take me away, take me away from here. (Carr, 2005: 340). May the bog that is the theatre stage, that place of nothingness and yet absolute completeness, haunt us with is purling wind, soft breath and rustle... May its ghosts always come back. References Andrade, Oswald de. O Rei da Vela [1933]. Lisboa: Difel,
16 Alinne Balduino Pires Fernandes Assis, Machado de. Idéias Sobre o Teatro, in O Espelho, Rio de Janeiro, 2 October Blau, Herbert. The Eye of Prey. Bloomington and Indianopolis: Indiana Univer - sity Press, Print. Carr, Marina. By the Bog of Cats... Plays One: Low in the Dark, The Mai, Portia Coughlan, By the Bog of Cats... London: Faber & Faber, Print. Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine. Arbor: University of Michigan Press, 2003/2011. Print. Ann Fernandes, Alinne. Translating Marina Carr for a Brazilian Audience: The In - terweaving of Memories in Theatre and Translation. Journal of Romance Lan - guages 14.1 (Spring 2014): Print. Friel, Brian. Philadelphia, Here I Come! Plays One: Philadelphia, Here I Come!, The Freedom of the City, Living Quarters, Aristocrats, Faith Healer, Translations. London: Faber & Faber, Print. Gardner, Lyn. Death Becomes Her. The Guardian. Vol. 29, Nov Web. 28 May Katz, Daniel. Jack Spicer s After Lorca: Translation as Decomposition. Textual Practice Vol. 18, no.1 (2004): Web. 2 Apr Magaldi, Sábato. Panorama do Teatro Brasileiro. 6th edn. São Paulo: Global Editora, Print Marías, Javier. Ausencia y Memoria en la Traducción Poética Literatura y Fantasma. Barcelona: Debolsillo, Print. Murray, Christopher. Twentieth-Century Irish Drama: Mirror up to Nation. Syracuse: Syracuse University Press, Print. 120
17 What ghost are you ghoulin for around here?... Robinson, Douglas. Who Translates? Translator Subjectivities Beyond Reason. Albany: State University of New York Press, Print. Rodrigues, Nelson. Vestido de Noiva. Rio de Janeiro: Nova Fronteira, Print. Shakespeare, William. Hamlet. Ed. Prof. T. J. B. Spencer. London: Penguin Books, Print. Synge, J. M. Playboy of the Western World. Modern and Contemporary Irish Drama. Ed. John P. Harrington. 2nd ed. New York and London: W. W. Norton & Company, Print. Recebido em: 22/12/2015 Aceito em: 05/02/2016 Publicado em maio de
With prompting and support, ask and answer questions about key details in a text. Grade 1 Ask and answer questions about key details in a text.
Literature: Key Ideas and Details College and Career Readiness (CCR) Anchor Standard 1: Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual
More informationCollege and Career Readiness Anchor Standards K-12 Montana Common Core Reading Standards (CCRA.R)
College and Career Readiness Anchor Standards K-12 Montana Common Core Reading Standards (CCRA.R) The K 12 standards on the following pages define what students should understand and be able to do by the
More informationLiterary and non literary aspects
THE PLAYWRIGHT The playwright -most central and most peripheral figure in the theatrical event -provides point of origin for production (the script) -in earlier periods playwrights acted as directors -today
More informationRobert Creeley: The Minimal Self s Metaphorical Transportation
Robert Creeley: The Minimal Self s Metaphorical Transportation Robert Creeley: A transportação metafórica do mínimo eu Rubelise da Cunha Resumo Este artigo examina a construção da subjetividade na poesia
More informationBAKHTIN, Mikhail. Questões de estilística no ensino da língua.
BAKHTIN, Mikhail. Questões de estilística no ensino da língua. [Stylistics in teaching Russian language in Secondary school] Tradução, posfácio e notas de Sheila Grillo e Ekaterina Vólkova Américo. São
More informationBPS Interim Assessments SY Grade 2 ELA
BPS Interim SY 17-18 BPS Interim SY 17-18 Grade 2 ELA Machine-scored items will include selected response, multiple select, technology-enhanced items (TEI) and evidence-based selected response (EBSR).
More informationTHE INTERCULTURAL APPROACH: MANUEL BANDEIRA AND EMILY DICKINSON COMPARED AND CONTRASTED
The intercultural approach: Manuel... 23 THE INTERCULTURAL APPROACH: MANUEL BANDEIRA AND EMILY DICKINSON COMPARED AND CONTRASTED Letícia Niederauer Tavares Cavalcanti Universidade Federal da Paraíba Any
More informationSeven remarks on artistic research. Per Zetterfalk Moving Image Production, Högskolan Dalarna, Falun, Sweden
Seven remarks on artistic research Per Zetterfalk Moving Image Production, Högskolan Dalarna, Falun, Sweden 11 th ELIA Biennial Conference Nantes 2010 Seven remarks on artistic research Creativity is similar
More informationThe Imaginary Bird: A dialogic performance in a contemporary music for solo flute
International Symposium on Performance Science ISBN 978-2-9601378-0-4 The Author 2013, Published by the AEC All rights reserved The Imaginary Bird: A dialogic performance in a contemporary music for solo
More informationCinematic artwork as a singularity: entrevistas com Noel Carroll 1. Denize Araujo 2 Fernão Ramos 3
Cinematic artwork as a singularity: entrevistas com Noel Carroll 1 Denize Araujo 2 Fernão Ramos 3 1 Professor do Graduate Center da City University of New York. Entre suas obras mais representativas estão
More information1. Plot. 2. Character.
The analysis of fiction has many similarities to the analysis of poetry. As a rule a work of fiction is a narrative, with characters, with a setting, told by a narrator, with some claim to represent 'the
More informationCarlos Gamerro, Ulises. Clave de lectura. Instrucciones para perderse en el laberinto más complejo de la literatura universal.
Papers on Joyce 15 (2009): 115-119. Review Essay Carlos Gamerro, Ulises. Clave de lectura. Instrucciones para perderse en el laberinto más complejo de la literatura universal. Norma: Buenos Aires, 2008.
More informationDiscussions on Literature: Breaking literary rules
Discussions on Literature: Breaking literary rules Amanda Attas Chaud* Carolina Nazareth Godinho* Eduardo Boheme Kumamoto* Isabela Moschkovich Abstract: The present study is not based on a broader academic
More informationUse of Linkage Technique in Johannes Brahms Op.78 and Leopoldo Miguéz s Op.14 Violin Sonatas
Use of Linkage Technique in Johannes Brahms Op.78 and Leopoldo Miguéz s Op.14 Violin Sonatas MODALIDADE: COMUNICAÇÃO SUBÁREA: TEORIA E ANÁLISE MUSICAL Desirée Johanna Mesquita Mayr djmayr@yahoo.com Carlos
More informationWhat is the Object of Thinking Differently?
Filozofski vestnik Volume XXXVIII Number 3 2017 91 100 Rado Riha* What is the Object of Thinking Differently? I will begin with two remarks. The first concerns the title of our meeting, Penser autrement
More informationDaniella Aguiar and Joao Queiroz Semiosis and intersemiotic translation
DOI 10.1515/sem-2013-0060 Semiotica 2013; 196: 283 292 Daniella Aguiar and Joao Queiroz Semiosis and intersemiotic translation Abstract: This paper explores Victoria Welby s fundamental assumption of meaning
More informationSpringBoard Academic Vocabulary for Grades 10-11
CCSS.ELA-LITERACY.CCRA.L.6 Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career
More informationArts and Literature Breadth Fall 2017
Subject Course # Arts and Literature Breadth Fall 2017 Course Title AFRICAM 4A Africa: History and Culture AFRICAM 5A African American Life and Culture in the United States AFRICAM 100 Black Intellectual
More informationChristopher Nolan: Director Extraordinaire. something that makes them want to go back and see the movie again. Stories have become
Christopher Nolan: Director Extraordinaire When people go to the movies, they want to see something new, something exciting, something that makes them want to go back and see the movie again. Stories have
More informationHamletmachine: The Objective Real and the Subjective Fantasy. Heiner Mueller s play Hamletmachine focuses on Shakespeare s Hamlet,
Tom Wendt Copywrite 2011 Hamletmachine: The Objective Real and the Subjective Fantasy Heiner Mueller s play Hamletmachine focuses on Shakespeare s Hamlet, especially on Hamlet s relationship to the women
More informationTheatre Arts 001 Great Literature of the Stage Dr. John Blondell. Introduction. --The Tempest, Epilogue, William Shakespeare
Theatre Arts 001 Great Literature of the Stage Dr. John Blondell MWF 9:15-10:20 Porter Theatre Phone 565-6778. E-mail: blondell@westmont.edu Office Hours TBA Now I want Spirits to enforce, art to enchant;
More informationThe Toy & Miniature Poodle (Terra-Nova) By Janice Biniok READ ONLINE
The Toy & Miniature Poodle (Terra-Nova) By Janice Biniok READ ONLINE If searched for a book The Toy & Miniature Poodle (Terra-Nova) by Janice Biniok in pdf form, in that case you come on to the loyal site.
More informationENTREVISTA COM GEETA DHARMARAJAN, KATHA
ENTREVISTA COM GEETA DHARMARAJAN, KATHA John Milton Índia: uma infinidade de línguas e dialetos, uma infinidade de traduções. O inglês é a língua das universidades, dos negócios e do governo, mas somente
More informationEnglish 1310 Lesson Plan Wednesday, October 14 th Theme: Tone/Style/Diction/Cohesion Assigned Reading: The Phantom Tollbooth Ch.
English 1310 Lesson Plan Wednesday, October 14 th Theme: Tone/Style/Diction/Cohesion Assigned Reading: The Phantom Tollbooth Ch. 3 & 4 Dukes Instructional Goal Students will be able to Identify tone, style,
More informationEng 104: Introduction to Literature Fiction
Humanities Department Telephone (541) 383-7520 Eng 104: Introduction to Literature Fiction 1. Build Knowledge of a Major Literary Genre a. Situate works of fiction within their contexts (e.g. literary
More information2011 Tennessee Section VI Adoption - Literature
Grade 6 Standard 8 - Literature Grade Level Expectations GLE 0601.8.1 Read and comprehend a variety of works from various forms Anthology includes a variety of texts: fiction, of literature. nonfiction,and
More informationAdriana Pucci Penteado de Faria e Silva * Universidade Federal da Bahia UFBA, Salvador, Bahia, Brazil;
BAKHTIN, Mikhail. Teoria do romance I: a estilística [Theory of the Novel I: Stylistics]. Translation, afterword, notes and glossary by Paulo Bezerra; Russian edition organizers Serguei Botcharov and Vadim
More informationCONTENTS. part 1: premises and inspirations. Acknowledgments
University of Michigan Press, 2012 CONTENTS Acknowledgments xiii Introduction: Human Behavior Is the Core Business of Theater 1 The Measures Taken 2 Theory and Practice 3 How We Solved Our Problems 4 Two
More informationLiterature Analysis. stories of merit to the masses. Two periods that produced literature with differing styles are the
Literature Analysis For centuries writers have been creating storylines to capture the imagination of the people of their timeframe. During this time, many different styles have been utilized to convey
More informationAbstracts. From the Crazy Black Guy: Parody, Avant-garde, and Theatre Revues
Abstracts From the Crazy Black Guy: Parody, Avant-garde, and Theatre Revues Virginia Namur The article deals with the relationships between theatre revues and parody, considering the relationship between
More informationCity, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Seago, K. (2017). Reading, Translating, Rewriting: Angela Carter's Translational Poetics. Translation Studies, 10(1),
More informationEnglish. English 80 Basic Language Skills. English 82 Introduction to Reading Skills. Students will: English 84 Development of Reading and Writing
English English 80 Basic Language Skills 1. Demonstrate their ability to recognize context clues that assist with vocabulary acquisition necessary to comprehend paragraph-length non-fiction texts written
More informationOnce and Future Performance Activism: Asylum Seekers Imagining Counter-Memories
Liminalities: A Journal of Performance Studies Vol. 14, No. 3 (2018) Once and Future Performance Activism: Asylum Seekers Imagining Counter-Memories Jesper Miikman, Veronica Petterson, and Sara Larsdotter
More informationShameless audio description: the art of describing erotic scenes in Brazilian film Future Beach
Shameless audio description: the art of describing erotic scenes in Brazilian film Future Beach Dra Lucinéa Marcelino Villela (Universidade Estadual Paulista) lucinea@rocketmail.com Translation as an authorial
More informationREVIEW ARTICLE IDEAL EMBODIMENT: KANT S THEORY OF SENSIBILITY
Cosmos and History: The Journal of Natural and Social Philosophy, vol. 7, no. 2, 2011 REVIEW ARTICLE IDEAL EMBODIMENT: KANT S THEORY OF SENSIBILITY Karin de Boer Angelica Nuzzo, Ideal Embodiment: Kant
More informationGuide. Standard 8 - Literature Grade Level Expectations GLE Read and comprehend a variety of works from various forms of literature.
Grade 6 Tennessee Course Level Expectations Standard 8 - Literature Grade Level Expectations GLE 0601.8.1 Read and comprehend a variety of works from various forms of literature. Student Book and Teacher
More informationInternational Shakespeare: The Tragedies, ed. by Patricia Kennan and Mariangela Tempera. Bologna: CLUEB, Pp
International Shakespeare: The Tragedies, ed. by Patricia Kennan and Mariangela Tempera. Bologna: CLUEB, 1996. Pp. 11-16. Shakespeare's Passports Balz Engler The name is Shakespeare, William, in a spelling
More informationAndrei Tarkovsky s 1975 movie, The
278 Caietele Echinox, vol. 32, 2017: Images of Community R'zvan Cîmpean Kaleidoscopic History: Visually Representing Community in Tarkovsky s The Mirror Abstract: The paper addresses the manner in which
More informationThree sad races. Racial identity and national consciousness in Brazilian literature
Three sad races Racial identity and national consciousness in Brazilian literature Three sad races Racial identity and national consciousness in Brazilian literature Department of Spanish, Italian and
More informationThe character who struggles or fights against the protagonist. The perspective from which the story was told in.
Prose Terms Protagonist: Antagonist: Point of view: The main character in a story, novel or play. The character who struggles or fights against the protagonist. The perspective from which the story was
More informationHow about see with the others in a globalized and intercultural era
205 How about see with the others in a globalized and intercultural era Sobre como ver com os outros em uma era globalizada e intercultural TISSIANA PEREIRA a University of São Paulo, Post-Graduation Program
More informationLatin America at Fin-de-Siècle Universal Exhibitions: Modern Cultures of Visuality, by Alejandra Uslenghi, by Nicolás Barbosa López
BOOK REVIEW Latin America at Fin-de-Siècle Universal Exhibitions: Modern Cultures of Visuality, by Alejandra Uslenghi, by Nicolás Barbosa López Análise Social, 223, lii (2.º), 2017 issn online 2182-2999
More informationLATIN AMERICAN THEATRE REVIEW
LATIN AMERICAN THEATRE REVIEW a Journal devoted to the Theatre and Drama of Spanish and Portuguese America Editor GEORGE W. WOODYARD Associate Editor JOHN S. BRUSHWOOD Assistant Editors WILLIAM R. BLUE
More informationUniversidade Estadual de Campinas UNICAMP, Campinas, São Paulo, Brazil; CNPq /2013-5;
http://dx.doi.org/10.1590/2176-457332148 PINKER, Steven. Guia de escrita; como conceber um texto com clareza, precisão e elegância [The Sense of Style: The Thinking Person's Guide to Writing in the 21st
More informationUC Merced TRANSMODERNITY: Journal of Peripheral Cultural Production of the Luso-Hispanic World
UC Merced TRANSMODERNITY: Journal of Peripheral Cultural Production of the Luso-Hispanic World Title Santos, Alessandra. Arnaldo Canibal Antunes. São Paulo: Editora Versos, 2012. Impreso. 295 pp. Permalink
More informationIrish Literature and Culture. Code: ECTS Credits: 6. Degree Type Year Semester
2018/2019 Irish Literature and Culture Code: 100235 ECTS Credits: 6 Degree Type Year Semester 2500245 English Studies OT 3 0 2500245 English Studies OT 4 0 Contact Name: Andrew Monnickendam Findlay Email:
More informationSTYLE SHEET FOR TRADUÇÃO EM REVISTA
STYLE SHEET FOR TRADUÇÃO EM REVISTA Articles are accepted in Portuguese, English, Spanish and French. I Formatting the text: Use Microsoft Word, font Times New Roman 12 (except in the cases below) space
More informationsomewhere i have never travelled, gladly beyond e.e.cummings
somewhere i have never travelled, gladly beyond e.e.cummings Questions Find all the words related to touch. Find all the words related to nature. What do you notice about the punctuation? What could this
More informationEnglish English ENG 221. Literature/Culture/Ideas. ENG 222. Genre(s). ENG 235. Survey of English Literature: From Beowulf to the Eighteenth Century.
English English ENG 221. Literature/Culture/Ideas. 3 credits. This course will take a thematic approach to literature by examining multiple literary texts that engage with a common course theme concerned
More informationShukla, Pravina, The Grace of Four Moons: Dress, Adornment, and the Art of the Body in Modern India. Book review.
San Jose State University From the SelectedWorks of Jo Farb Hernandez Winter 2010 Shukla, Pravina, The Grace of Four Moons: Dress, Adornment, and the Art of the Body in Modern India. Book review. Jo Farb
More informationAnswer the following questions: 1) What reasons can you think of as to why Macbeth is first introduced to us through the witches?
Macbeth Study Questions ACT ONE, scenes 1-3 In the first three scenes of Act One, rather than meeting Macbeth immediately, we are presented with others' reactions to him. Scene one begins with the witches,
More informationAUTHORS: TANIA LUCIA CORREA VALENTE UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ
THE TEACHING AND LEARNING OF THE PORTUGUESE LANGUAGE AND NATURAL SCIENCES IN A SEMIOTIC APPROACH, FOR THE EDUCATION OF YOUTH AND ADULTS, WITH STUDENTS IN DEPRIVATION OF LIBERTY AUTHORS: TANIA LUCIA CORREA
More informationIf your quotation does not exceed four lines, put it in quotation marks and incorporate it directly in your text.
QUOTING Once you are committed to source acknowledgement, you have to do so in a particular way. What follows is a summary of the most important conventions of quotation and source acknowledgment. Quotations
More informationCan Television Be Considered Literature and Taught in English Classes? By Shelby Ostergaard 2017
Name: Class: Can Television Be Considered Literature and Taught in English Classes? By Shelby Ostergaard 2017 Movie days in the classroom are infrequent and far between, but what if teachers used television
More informationCharacterization Imaginary Body and Center. Inspired Acting. Body Psycho-physical Exercises
Characterization Imaginary Body and Center Atmosphere Composition Focal Point Objective Psychological Gesture Style Truth Ensemble Improvisation Jewelry Radiating Receiving Imagination Inspired Acting
More informationתקצירים באנגלית Articles English Abstracts of
תקצירים באנגלית Articles English Abstracts of Is There Medicine in Medical Clowning? Prof. Shevach Friedler* Abstract The tasks of the circus clown and the medical clown differ mainly in that the latter
More information<em>how Many More of Them Are You?</em> by Lisa Lubasch
Illinois Wesleyan University From the SelectedWorks of Michael Theune 2000 how Many More of Them Are You? by Lisa Lubasch Michael Theune, Illinois Wesleyan University Available at: https://works.bepress.com/theune/59/
More informationCole Olson Drama Truth in Comedy. Cole Olson
Truth in Comedy Cole Olson Grade 12 Dramatic Arts Comedy: Acting, Movement, Speech and History March 4-13 Holy Trinity Academy 1 Table of Contents Item Description Rationale Page A statement that demonstrates
More informationInternational Friends of Druid
International Friends of Druid Druid theatre company was like a university to me it gifted me with some of the best working experiences of my career. To this day it continues to produce extraordinary and
More informationin order to formulate and communicate meaning, and our capacity to use symbols reaches far beyond the basic. This is not, however, primarily a book
Preface What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god! The beauty
More informationSOULISTICS: METAPHOR AS THERAPY OF THE SOUL
SOULISTICS: METAPHOR AS THERAPY OF THE SOUL Sunnie D. Kidd In the imaginary, the world takes on primordial meaning. The imaginary is not presented here in the sense of purely fictional but as a coming
More information6 th Grade - Learning Targets Reading Comprehension
Name Number Hour Learning Targets I know the parts of a plot. (exposition, rising action, initial incident, climax, falling action, resolution, conflict, point of view, protagonist, antagonist) I know
More informationTHESIS SHAPES OF SOUNDS AND SILENCE. Submitted by. Nilza Grau Haertel. Art Department. In partial fulfillment of the requirements
THESIS SHAPES OF SOUNDS AND SILENCE Submitted by Nilza Grau Haertel Art Department In partial fulfillment of the requirements for the Degree of Master of Fine Arts Colorado State University Fort Collins,
More informationA Conversation with Michele Osherow, Resident Dramaturg at the Folger Theatre. By Julia Chinnock Howze
1 A Conversation with Michele Osherow, Resident Dramaturg at the Folger Theatre By Julia Chinnock Howze If one thing is clear about Michele Osherow, resident dramaturg at the Folger Theatre at the Folger
More informationGlossary alliteration allusion analogy anaphora anecdote annotation antecedent antimetabole antithesis aphorism appositive archaic diction argument
Glossary alliteration The repetition of the same sound or letter at the beginning of consecutive words or syllables. allusion An indirect reference, often to another text or an historic event. analogy
More informationА. A BRIEF OVERVIEW ON TRANSLATION THEORY
Ефимова А. A BRIEF OVERVIEW ON TRANSLATION THEORY ABSTRACT Translation has existed since human beings needed to communicate with people who did not speak the same language. In spite of this, the discipline
More informationCOMPREHENSIVE EXAMINATION SAMPLE QUESTIONS
COMPREHENSIVE EXAMINATION SAMPLE QUESTIONS ENGLISH LANGUAGE 1. Compare and contrast the Present-Day English inflectional system to that of Old English. Make sure your discussion covers the lexical categories
More informationCOURSE SLO ASSESSMENT 4-YEAR TIMELINE REPORT (ECC)
COURSE SLO ASSESSMENT 4-YEAR TIMELINE REPORT (ECC) HUMANITIES DIVISION - ENGLISH ECC: ENGL 28 Images of Women in Literature Upon completion of the course, successful students will identify female archetypes,
More informationA Sociedade do Telejornalismo (The TV Journalism Society) São Paulo: Editora Vozes, 2008, 127 p.
Book review A Sociedade do Telejornalismo (The TV Journalism Society) Alf r e d o Vi z e u (o r g.) São Paulo: Editora Vozes, 2008, 127 p. Reviewed by Beatriz Becker In an analysis of the research works
More informationMUDE SEU FUTURO ATRAVES DAS ABERTURAS TEMPORAIS (PORTUGUESE EDITION) BY L Y JP GARNIER MALET
Read Online and Download Ebook MUDE SEU FUTURO ATRAVES DAS ABERTURAS TEMPORAIS (PORTUGUESE EDITION) BY L Y JP GARNIER MALET DOWNLOAD EBOOK : MUDE SEU FUTURO ATRAVES DAS ABERTURAS Click link bellow and
More informationAPHRA BEHN STAGE THE SOCIAL SCENE
PREFACE This study considers the plays of Aphra Behn as theatrical artefacts, and examines the presentation of her plays, as well as others, in the light of the latest knowledge of seventeenth-century
More informationABOUT THIS GUIDE. Dear Educator,
ABOUT THIS GUIDE Dear Educator, This Activity Guide is designed to be used in conjunction with a unique book about the life and plays of William Shakespeare called The Shakespeare Timeline Wallbook, published
More informationEmerging Questions: Fernando F. Segovia and the Challenges of Cultural Interpretation
Emerging Questions: Fernando F. Segovia and the Challenges of Cultural Interpretation It is an honor to be part of this panel; to look back as we look forward to the future of cultural interpretation.
More informationDrama & Theatre Studies: Wyke Start Summer work
Drama & Theatre Studies: Wyke Start Summer work Respond to the following statement (between 100-150 words) What is the Purpose of Theatre? Please submit the work during enrolment + Drama & Theatre Studies:
More informationCHAPTER 2 THEORETICAL FRAMEWORK
CHAPTER 2 THEORETICAL FRAMEWORK 2.1 Poetry Poetry is an adapted word from Greek which its literal meaning is making. The art made up of poems, texts with charged, compressed language (Drury, 2006, p. 216).
More informationPRESENTS GLORIA A FILM BY SEBASTIAN LELIO. Winner Silver Bear, Berlinale 2013 Best Actress. Winner - Prize of the Ecumenical Jury
PRESENTS GLORIA A FILM BY SEBASTIAN LELIO Winner Silver Bear, Berlinale 2013 Best Actress Winner - Prize of the Ecumenical Jury GLORIA Starring Paulina Garcia IN CINEMAS NOW Gloria is 58 years old and
More informationThe Social Meaning of Civic Space: Studying Political Authority Through Architecture
The Annals of Iowa Volume 50 Number 5 (Summer 1990) pps. 566-568 The Social Meaning of Civic Space: Studying Political Authority Through Architecture ISSN 0003-4827 Copyright 1990 State Historical Society
More informationAP Literature and Composition Summer Reading. Supplemental Assignment to Accompany to How to Read Literature Like a Professor
AP Literature and Composition Summer Reading Supplemental Assignment to Accompany to How to Read Literature Like a Professor In Arthur Conan Doyle s The Red-Headed League, Sherlock Holmes and Dr. Watson
More informationUNIVERSITY OF PUERTO RICO RIO PIEDRAS CAMPUS COLLEGE OF HUMANITIES DEPARTMENT OF ENGLISH UNDERGRADUATE PROGRAM
UNIVERSITY OF PUERTO RICO RIO PIEDRAS CAMPUS COLLEGE OF HUMANITIES DEPARTMENT OF ENGLISH UNDERGRADUATE PROGRAM ENGLISH 4035 BRITISH DRAMA FROM THE MIDDLE AGES TO THE EIGHTEENTH CENTURY Credit: 3 Hours
More informationAbstract of Graff: Taking Cover in Coverage. Graff, Gerald. "Taking Cover in Coverage." The Norton Anthology of Theory and
1 Marissa Kleckner Dr. Pennington Engl 305 - A Literary Theory & Writing Five Interrelated Documents Microsoft Word Track Changes 10/11/14 Abstract of Graff: Taking Cover in Coverage Graff, Gerald. "Taking
More informationLiterature: An Introduction to Reading and Writing
Literature: An Introduction to Reading and Writing by Roberts and Jacobs English Composition III Mary F. Clifford, Instructor What Is Literature and Why Do We Study It? Literature is Composition that tells
More information126 BEN JONSON JOURNAL
BOOK REVIEWS James D. Mardock, Our Scene is London: Ben Jonson s City and the Space of the Author. New York and London: Routledge, 2008. ix+164 pages. This short volume makes a determined and persistent
More informationThe character who struggles or fights against the protagonist. The perspective from which the story was told in.
Prose Terms Protagonist: Antagonist: Point of view: The main character in a story, novel or play. The character who struggles or fights against the protagonist. The perspective from which the story was
More informationAstigmatism: analysis and synthesis of the astigmatic ametropia
http://eoftalmo.org.br OPINION OF SPECIALISTS Astigmatism: analysis and synthesis of the astigmatic ametropia Astigmatismo: análise e síntese da ametropia astigmática Analysis and synthesis of the astigmatic
More informationGlossary of Literary Terms
Alliteration Alliteration is the repetition of initial consonant sounds in accented syllables. Allusion An allusion is a reference within a work to something famous outside it, such as a well-known person,
More informationREPRESENTATION OF FOLK IN WORLD LITERATURE
UNIT 1 REPRESENTATION OF FOLK IN WORLD LITERATURE Structure 1.0 Objectives 1.1 What are modern narratives? 1.2 Folk and modern narratives: tradition vs. modern narratives 1.3 Examples of folk and pre-modern
More informationFACTFILE: GCE ENGLISH LITERATURE
FACTFILE: GCE ENGLISH LITERATURE STARTING POINTS SECTION B: DRAMA 1900 PRESENT Section B: The Study of Drama 1900 Present In this Unit there are 4 Assessment Objectives involved AO1, AO2, AO3 and AO5.
More informationCulture, Space and Time A Comparative Theory of Culture. Take-Aways
Culture, Space and Time A Comparative Theory of Culture Hans Jakob Roth Nomos 2012 223 pages [@] Rating 8 Applicability 9 Innovation 87 Style Focus Leadership & Management Strategy Sales & Marketing Finance
More informationPUBLIC/PRIVATE PARTNERSHIP IN DEVELOPING A HEALTHY CULTURAL ECOLOGY
SESSION III PUBLIC/PRIVATE PARTNERSHIP IN DEVELOPING A HEALTHY CULTURAL ECOLOGY What is an appropriate role for the private sector in developing cultural ecology for a city? How should the for-profit sector
More informationAdjust oral language to audience and appropriately apply the rules of standard English
Speaking to share understanding and information OV.1.10.1 Adjust oral language to audience and appropriately apply the rules of standard English OV.1.10.2 Prepare and participate in structured discussions,
More informationOwen Barfield. Romanticism Comes of Age and Speaker s Meaning. The Barfield Press, 2007.
Owen Barfield. Romanticism Comes of Age and Speaker s Meaning. The Barfield Press, 2007. Daniel Smitherman Independent Scholar Barfield Press has issued reprints of eight previously out-of-print titles
More informationWilliam Shakespeare. Coriolanus, The Arden Shakespeare, Third. Series. Ed. Peter Holland. London: Bloomsbury Publishing, Christian Griffiths
William Shakespeare. Coriolanus, The Arden Shakespeare, Third Series. Ed. Peter Holland. London: Bloomsbury Publishing, 2013. ISBN: 9781904271284. Christian Griffiths Despite being a play that is reputed
More informationTheater As a Teaching Procedure in Sociology
Clinical Sociology Review Volume 10 Issue 1 Article 20 1-1-1992 Theater As a Teaching Procedure in Sociology Joao Gabriel L. C. Teixeira Universidade de Brasilia Follow this and additional works at: http://digitalcommons.wayne.edu/csr
More informationVictorian Certificate of Education 2001 THEATRE STUDIES. Written examination. Wednesday 21 November 2001
1 THEATRE STUDIES EXAM Victorian Certificate of Education 2001 THEATRE STUDIES Written examination Wednesday 21 November 2001 Reading time: 2.00 pm to 2.15 pm (15 minutes) Writing time: 2.15 pm to 3.45
More informationWHAT DEFINES A HERO? The study of archetypal heroes in literature.
WHAT DEFINES A? The study of archetypal heroes in literature. EPICS AND EPIC ES EPIC POEMS The epics we read today are written versions of old oral poems about a tribal or national hero. Typically these
More informationAllen Ginsberg English 1302: Composition II D. Glen Smith, instructor
Allen Ginsberg Another example of a poem of witness, a poem of protest. Allen Ginsberg (June 3, 1926 April 5, 1997) Like William Blake s London Ginsberg takes the reader on a short journey; in his case,
More informationOn and Off the Stage: A Look at Working with the Kennedy Center American College Theatre Festival
The University of Akron IdeaExchange@UAkron Honors Research Projects The Dr. Gary B. and Pamela S. Williams Honors College Spring 2015 On and Off the Stage: A Look at Working with the Kennedy Center American
More informationUNIT PLAN. Subject Area: English IV Unit #: 4 Unit Name: Seventeenth Century Unit. Big Idea/Theme: The Seventeenth Century focuses on carpe diem.
UNIT PLAN Subject Area: English IV Unit #: 4 Unit Name: Seventeenth Century Unit Big Idea/Theme: The Seventeenth Century focuses on carpe diem. Culminating Assessment: Research satire and create an original
More informationJournal of Religion & Film
Volume 2 Issue 3 Special Issue (December 1998): Spotlight on Teaching 12-17-2016 Seduction By Visual Image Barbara De Concini bdeconcini@aarweb.com Journal of Religion & Film Article 2 Recommended Citation
More informationSTYLISATION, MASK, GROTESQUE, MONTAGE, BIOMECHANICS. Meyerhold s philosophy about stylisation and biomechanics in performance.
STYLISATION, MASK, GROTESQUE, MONTAGE, BIOMECHANICS Meyerhold s philosophy about stylisation and biomechanics in performance. WHAT YOU NEED TO DO 1. Define stylisation and explain how Meyerhold used this
More information